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You've selected:
Traditional Shepherd
Orchestra
Sheetmusic to print
8 sheet music found
<
1
Christmas Suite No. 4 - Orchestra Score and Parts PDF (Three Traditional German Carols)
Orchestra
Full Orchestra - Level 3 - Digital Download SKU: A0.751071 Composed by Traditional …
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Full Orchestra - Level 3 - Digital Download SKU: A0.751071 Composed by Traditional German Carols. Arranged by Brendan Elliget MAGA 537. Christmas. Score and parts. 64 pages. BJE Music #6565665. Published by BJE Music (A0.751071). Christmas Suite No. 4 – Concert BandThis is an arrangement of three Traditional German Christmas Carols for the Orchestral. [Key F to Bb] The suite is in one continuous movement – a bright start, a gentle lilting middle, and a majestic finale.Christ Was Born on Christmas Day [Bright 6/8]Come Hasten, Ye Shepherds [Gentle 3/4]From Heaven Above to Earth I Come [Maestoso 4/4]The audio MP3 was recorded with NotePerformer 3. Grade = 3.5 Duration = 4:35 mins
$30.00
28.02 €
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Orchestra
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Traditional German Carols
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Christmas Suite No. 4 - Orchestra Score and Parts PDF
#
BJE Music
#
SheetMusicPlus
St. Columba
Orchestra
Full Orchestra - Digital Download SKU: A0.1305141 Composed by Traditional Irish Mel…
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Full Orchestra - Digital Download SKU: A0.1305141 Composed by Traditional Irish Melody. Arranged by Joshua Choe. Christian,Classical,Easter,Sacred,Traditional. Score and Parts. 21 pages. JMJ Arrangements #894569. Published by JMJ Arrangements (A0.1305141). St. Columba is an Irish hymn tune that is set to the hymns The King of Love My Shepherd Is and O Breathe on Me, O Breath of God..
$19.99
18.67 €
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Orchestra
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Traditional Irish Melody
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St. Columba
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JMJ Arrangements
#
SheetMusicPlus
Three Dancing Carols - Orchestration
Orchestra
Full Orchestra - Level 5 - Digital Download SKU: A0.1294533 By The Tabernacle Choir…
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Full Orchestra - Level 5 - Digital Download SKU: A0.1294533 By The Tabernacle Choir at Temple Square. By Traditional and Karl Enslin. Arranged by Ryan Murphy. Christmas,Sacred,Traditional. Score and Parts. 148 pages. Ryan Murphy #884875. Published by Ryan Murphy (A0.1294533). Three Dancing Carols - Full Score and Parts.A medley of three traditional carols: The Shepherds (De Herdertjes, Netherlands), Ring, Bells (Kling, Glöchen, Germany), Bright and Glorious Is the Sky (Dejlig Er Den Himmel Blå, Denmark). FULL SCORE - 11x17 (32 pages)PARTS - 8.5x11 (116 pages)Instrumentation:3 (3rd+P) 2 2 2 /4431/ T+5/ Organ (opt)/ Harp/ Celesta/Stringstimp/glock/chimes/suscym/piatti/snare/triangleoptional handchimes.
$80.00
74.73 €
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Orchestra
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The Tabernacle Choir at Temple Square
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Three Dancing Carols - Orchestration
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Ryan Murphy
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SheetMusicPlus
Joyful and Triumphant Overture (O Come, All Ye Faithful)
Orchestra
Full Orchestra - Level 3 - Digital Download SKU: A0.1339990 By Michael Ware. By Mic…
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Full Orchestra - Level 3 - Digital Download SKU: A0.1339990 By Michael Ware. By Michael Ware. Arranged by Michael Ware. Christmas,Classical,Holiday,Sacred,Traditional. 82 pages. Michael Ware Music #925654. Published by Michael Ware Music (A0.1339990). O Come, All Ye Faithful (ADESTE FIELES) is a Christmas carol classic which is widely used throughout the holiday season. Michael Ware’s exuberant orchestral overture captures the “Joyful and Triumphant†spirit of the traditional song. This setting works very well as a prelude to any Christmas program or worship service. Celebrate the Christ Child and come with the shepherds to Bethlehem.
$70.00
65.39 €
#
Orchestra
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Michael Ware
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Joyful and Triumphant Overture
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Michael Ware Music
#
SheetMusicPlus
Missa Solemnis, op. 27 (parts)
Orchestra
Full Orchestra - Level 5 - Digital Download SKU: A0.1277141 Composed by Adrian Gagi…
(+)
Full Orchestra - Level 5 - Digital Download SKU: A0.1277141 Composed by Adrian Gagiu. 21st Century,Christian,Classical,Latin. Score and Parts. 282 pages. Adrian Gagiu #868829. Published by Adrian Gagiu (A0.1277141). Missa Solemnis in B major, op. 27 (orchestral parts). Based on its Neo-classical style, this setting of the Roman Catholic mass text could possibly work as a festive mass (missa solemnis) with trumpets and timpani, and its duration would fit such a solemn service. However, its intense and sometimes dramatic treatment and universal addressability due to its well-known and rather concentrated text, yet also due to eliminating the „Filioque†(which would still fit the rhythm of the repeated „qui ex Patreâ€, should any Catholics ever wish to perform this as a mass) make it rather a „liturgical oratorio for all nationsâ€, more appropriate in the concert hall. The work has had a long gestation: imagined in 1984 after the composer’s first contact with Beethoven’s masterpiece, then sketched first in 1987-1989, and many of its themes date back from those years. Its working out is quite polyphonic, discretely modal and cyclical, and also full of centuries-old musical symbols traditionally associated with the setting of the mass text: e.g. unisons for the more dogmatical parts, Baroque dotted rhythms at the Nativity (the first coming of the  King of Kings), „rex caelestis†and also at his Passion (whose setting is discretely inspired by folkloric Romanian laments), the „anabasis†gesture at „Gloria in excelsis Deoâ€, „et ascendit in caelisâ€, „in remissionem peccatorum†and the resurrection, a flute trill standing for the Holy Spirit who has come ’like a dove’ at „et incarnatus estâ€, a cross-shaped texture at „crucifixusâ€, and some word-painting (hushed sonorities at „et invisibiliumâ€, anticipations between orchestra and chorus at „et exspecto†etc.). Moreover, certain symbolic roles are assigned to the instrumental groups when alone (the organ represents God the Father and transcendence, the winds and/or solo voices represent God the Son and humanity, and the strings represent the Holy Spirit). „Kyrie†is restrained and soft, besides the powerful chords opening the respective sections of its tripartite, simple structure, and it leans towards Palestrina’s serene modality and counterpoint. „Gloria†begins with a colorful orchestral introduction depicting discretely the shepherds who kept watch over their flocks right before the Nativity, and then gradually the bright revelation. „Credo†has an orchestral introduction as well, but powerful, recurring and based on the beginning of the plainchant hymn „Pange linguaâ€, made famous by Mozart’s last symphony and by other Classical composers. Both „Gloria†and „Credo†end with extended, powerful and elaborate fugues („in gloria Dei Patris†and „et vitam venturi saeculiâ€, respectively) with dramatic modulations and sometimes with enthusiastic syncopations at odds with the words’ accents, a la Stravinsky. The same sections plus „Agnus Dei†end with soft quartal harmonies suggesting transcendent appeasement (similar harmonies appear powerfully at the beginning of „Sanctusâ€). „Judicare†quotes the beginning of the well-known „Dies irae†plainchant tune, and the Consecration between the „Sanctus†and „Benedictus†sections is represented by a contemplative prelude for solo organ, quoting Lutheran chorales, too. Another long orchestral introduction, suggesting the Last Judgment and based on traditional Byzantine hymns, opens „Agnus Deiâ€, which includes another quotation (the famous ’Dresden Amen’ at „qui tollis peccata mundi†and „dona nobis pacemâ€). In the final section, with its refined simplicity, the choral voices enter in descending order, and the „Kyrie eleison†theme is briefly remembered, then it ends softly and peacefully. Total duration: 50 min. Performing Rights Organization: SOCAN. The mp3 audio clip is Kyrie.
$160.00
149.46 €
#
Orchestra
#
Adrian Gagiu
#
Missa Solemnis, op. 27
#
Adrian Gagiu
#
SheetMusicPlus
Missa Solemnis, op. 27 - Score Only
Orchestra
Full Orchestra - Level 5 - Digital Download SKU: A0.1277133 Composed by Adrian Gagi…
(+)
Full Orchestra - Level 5 - Digital Download SKU: A0.1277133 Composed by Adrian Gagiu. 21st Century,Christian,Classical,Latin. 128 pages. Adrian Gagiu #868819. Published by Adrian Gagiu (A0.1277133). Missa Solemnis in B major, op. 27 (conductor's score). Based on its Neo-classical style, this setting of the Roman Catholic mass text could possibly work as a festive mass (missa solemnis) with trumpets and timpani, and its duration would fit such a solemn service. However, its intense and sometimes dramatic treatment and universal addressability due to its well-known and rather concentrated text, yet also due to eliminating the „Filioque†(which would still fit the rhythm of the repeated „qui ex Patreâ€, should any Catholics ever wish to perform this as a mass) make it rather a „liturgical oratorio for all nationsâ€, more appropriate in the concert hall. The work has had a long gestation: imagined in 1984 after the composer’s first contact with Beethoven’s masterpiece, then sketched first in 1987-1989, and many of its themes date back from those years. Its working out is quite polyphonic, discretely modal and cyclical, and also full of centuries-old musical symbols traditionally associated with the setting of the mass text: e.g. unisons for the more dogmatical parts, Baroque dotted rhythms at the Nativity (the first coming of the  King of Kings), „rex caelestis†and also at his Passion (whose setting is discretely inspired by folkloric Romanian laments), the „anabasis†gesture at „Gloria in excelsis Deoâ€, „et ascendit in caelisâ€, „in remissionem peccatorum†and the resurrection, a flute trill standing for the Holy Spirit who has come ’like a dove’ at „et incarnatus estâ€, a cross-shaped texture at „crucifixusâ€, and some word-painting (hushed sonorities at „et invisibiliumâ€, anticipations between orchestra and chorus at „et exspecto†etc.). Moreover, certain symbolic roles are assigned to the instrumental groups when alone (the organ represents God the Father and transcendence, the winds and/or solo voices represent God the Son and humanity, and the strings represent the Holy Spirit). „Kyrie†is restrained and soft, besides the powerful chords opening the respective sections of its tripartite, simple structure, and it leans towards Palestrina’s serene modality and counterpoint. „Gloria†begins with a colorful orchestral introduction depicting discretely the shepherds who kept watch over their flocks right before the Nativity, and then gradually the bright revelation. „Credo†has an orchestral introduction as well, but powerful, recurring and based on the beginning of the plainchant hymn „Pange linguaâ€, made famous by Mozart’s last symphony and by other Classical composers. Both „Gloria†and „Credo†end with extended, powerful and elaborate fugues („in gloria Dei Patris†and „et vitam venturi saeculiâ€, respectively) with dramatic modulations and sometimes with enthusiastic syncopations at odds with the words’ accents, a la Stravinsky. The same sections plus „Agnus Dei†end with soft quartal harmonies suggesting transcendent appeasement (similar harmonies appear powerfully at the beginning of „Sanctusâ€). „Judicare†quotes the beginning of the well-known „Dies irae†plainchant tune, and the Consecration between the „Sanctus†and „Benedictus†sections is represented by a contemplative prelude for solo organ, quoting Lutheran chorales, too. Another long orchestral introduction, suggesting the Last Judgment and based on traditional Byzantine hymns, opens „Agnus Deiâ€, which includes another quotation (the famous ’Dresden Amen’ at „qui tollis peccata mundi†and „dona nobis pacemâ€). In the final section, with its refined simplicity, the choral voices enter in descending order, and the „Kyrie eleison†theme is briefly remembered, then it ends softly and peacefully. Total duration: 50 min. Performing Rights Organization: SOCAN. The mp3 audio clip is Kyrie.
$85.99
80.33 €
#
Orchestra
#
Adrian Gagiu
#
Missa Solemnis, op. 27 - Score Only
#
Adrian Gagiu
#
SheetMusicPlus
Christmas Processional
Orchestra
Full Orchestra - Level 5 - Digital Download SKU: A0.890746 Composed by French Tradi…
(+)
Full Orchestra - Level 5 - Digital Download SKU: A0.890746 Composed by French Traditional. Arranged by Andrew Wainwright. Christmas. Score and parts. 69 pages. Andrew Wainwright #4888451. Published by Andrew Wainwright (A0.890746). A spectacular opener to any Christmas concert, based on the French carol, Bring a torch, Jeanette, Isabella. This work tells the story of a group of children in medieval Provence, dressed up as shepherds and milkmaids, carrying torches and candles as they proceed to the stable. As they draw closer and their excitement increases, they are constantly reminded by their parents to keep the noise down so that they don't wake up the baby Jesus. The music begins quietly and builds to a majestic conclusion. If I were still conducting regularly, this would certainly be on my list as a Christmas concert opener - it sets the energy and mood most effectively. The scoring is terrific. Paul Hindmarsh, music critic *Please note audio is of the version with choir.
$65.00
60.72 €
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Orchestra
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French Traditional
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Christmas Processional
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Andrew Wainwright
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SheetMusicPlus
20 Carols for Orchestra Volume 5
Orchestra
Full Orchestra - Level 3 - Digital Download SKU: A0.1317774 Composed by Various. Ar…
(+)
Full Orchestra - Level 3 - Digital Download SKU: A0.1317774 Composed by Various. Arranged by Trevor Davies. Advent,Christmas,Praise & Worship. 137 pages. Musicworks.co.uk #906457. Published by Musicworks.co.uk (A0.1317774). The Holly and the Ivy; We Three Kings; We Wish You a Merry Christmas; While Shepherds Watched. This set of arrangements is ideal for the ever popular “Audience Participation†type of Carol Concert as well as traditional carol services. Set at an intermediate standard, the arrangements are accessible to a broad ability range and are mostly based on the standard choral arrangements. The orchestration is standard with a range of optional cover parts, eg clarinet/oboe etc.Presented as clearly indexed pdf for ease of access to individual parts. Originally produced in 1997 for an Oxford Middle School, this resource has found its way to schools and delighted audiences as far afield as Portugal and New Zealand as well as many establishments in the UK.
$14.95
13.97 €
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Orchestra
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Various
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We Three Kings
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20 Carols for Orchestra Volume 5
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Musicworks.co.uk
#
SheetMusicPlus
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